Анотация |
Since the world exists, mighty rulers vigilantly keep an eye
on the development of arts, particularly, on the
dramaturgical-and-stage ones having most immediate impact on
spectators and listeners. It is no chance that the great dramatists
of most ancient times are in a hurry to "send" their protagonists
far away from their own motherland /"The Persians" by Aeschylus,
"Hamlet" by Shakespeare etc/. At the same time such "escapes and
flights" impart some peculiar universal sounding to such creations.
In fact, when we talk about universality of a dramatic work, most
of all we should highlight the all-mankind themes developed in them
/the tragic love of Romeo and Juliet/. In our dramaturgy we can
find very few models who possess universality of the "first" type
/"Socrates" and "Jeanne d'Arc" by Stefan Tsanev/ and were produced
out of Bulgaria during the past authoritarian socialist times.
After the fall of the Berlin wall, fell apart also the main
impediments which did not allow our artists to take up all-mankind
problems while keeping up our folk coloring to certain
extent, but, of course, not on ethnographic and daily-life basis.
But a new serious impediment appeared, though - financing issues.
In this sense we should study the Hungarian and Romanian experience
as they have developed cultural policy in this respect by having
public organizations searching and attracting translators from all
over the world to diffuse their national literature works, in
particular - dramaturgy. I could not state the same about our
practice, namely that during the passed decades to foreign
selectionists best plays were shown which are worth to be seen
outside our country.
Theater is good or bad. About the bad one it is not worth
talking. On the other hand, the good theater /dramaturgical basis
and its performance/ is always UNIVERSAL and it is the future of
our stages.
Key words: past-present, native-universal, drama-stage.
Orientation: Theatrical art - "The universal
language of the modern stage"
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